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(pubblicato nel contesto di “Art & Culture” N.1 su 60.700.000

come potete verificare clickando qui 14-5-16 CET 5.00

ed in “Esteticamente — Aesthetically”

che è N. 9 su 25,400 siti di settore come vedete qui 2/7/2016 alle 9.00)


Sonja Sweterlitsch prefers the portrait of female figure. Aesthetically, we perceive all the elegance of a flower which is going to blossom. The arms keep close to the bust, but conserving an elasticity of the elbow. Overall it seems a pose “aristocratic” in a modern style. We remember that Sonja Sweterlitsch portrays the dancers, when the elegance will have to “blossom”, with the complicity of a pirouette and a tutu. The decoration of a flower can appear both in the clothing (along the necklace and the belt), and virtually between the woven hands. So we would perceive the “tension”, from the portrayed subject, into his self justification. The “bloom” of a necklace, of the belt or of the hands will allow the entire body to pulsate, as earning “a second heart”. Sonja Sweterlitsch often lets the same tone or almost, between the background and the worn dress. Something that favours a self-justification from its beat. The elegance always “hits” us rationally. We perceive a sort of astigmatism, between the background and the dress almost in the same tone. The elegance “floors” us through a moderate surprise.

Garcia Lorca imagines a bracelet of flowers, precisely with a periwinkle (functioning as a star in the sky), a black iris (in the wind) and a rose (on the water). The elegance asks to pair every quality. Garcia Lorca looks for a symbolism even universal about the flowers, between the principal elements in nature. The periwinkle shivers on the edge of Milky Way. The black iris can smile from Orient (if according to Ancient Greece it symbolized the rainbow). The rose is located on the back of a river, conducting there a sunset between the mountains.

Sonja Sweterlitsch portrays the dancers, whose body will be the same of a “blooming” star. There, the arms almost will have to “shiver”, over the corresponded legs. The “aristocratic” elegance of the dancers fortunately does not frighten, but at most it will beat the hesitation for a difficult exercise.

How much would the woven arms unveil to us a “tremble” from an existential maturation? For example a teenager can have a “wrong-footed” behaviour, respect a civil society. Sonja Sweterlitsch portrays a woman elegantly mature, in her self justification from a carefree air only for a laugh (absolutely without a malice). The pictures often have a black background. There, the intersection of the arms will bring “a smile”. The stalk of an iris is erected “with a security”, allowing a “rainbow” of the leaves. Something that we see again in the body position of an arabesque, about a dancer. The arms bend “as a petal” along the “corolla” of the torso, and this one could set.

Sonja Sweterlitsch likes to represent a “heartbeat” for the elegance, where the beauty literally pairs itself to its seduction “flooring” us. A mature person however has a light, although into the sunset of the life. The pictures show to us principally the “blooming” arms, that are not so seductive as the legs. It seems that the elegance gives to the beauty a “nobility” of a work. The arms mainly serve to something. Always an ethics of work exists; also in the “playful” appearance of the dancer, at theatre. The arms are going to cling to the chest. There we will recognize that the “fatiguing load” of a work could finally arrive to “blossom”, and from the back to the heart. The elegance is perceived in the ethics of a beauty.

 PAOLO MENEGHETTI

(Critic of contemporary aesthetics, born in 1979)

PAOLO MENEGHETTI   ©2016

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